Jasper Johns, ‘Corpse and Mirror (ULAE 167)’, 1976, Joseph K. Levene Fine Art, Ltd.
Jasper Johns, ‘Corpse and Mirror (ULAE 167)’, 1976, Joseph K. Levene Fine Art, Ltd.
Jasper Johns, ‘Corpse and Mirror (ULAE 167)’, 1976, Joseph K. Levene Fine Art, Ltd.

Selected museum collections:
Walker Art Center, Minneapolis
https://walkerart.org/collections/artworks/corpse-and-mirror-2
National Gallery of Art, Washington D.C.
https://www.nga.gov/collection/art-object-page.142522.html
http://www.josephklevenefineartltd.com/NewSite/Jasper-Johns-Corpse-Mirror2.htm

Series: Crosshatch

Signature: Signed & dated in pencil "J Johns '76" lower right & numbered in pencil lower left.

Publisher: Petersburg Press, New York and London, Printed by Atelier Crommelynck

Milwaukee Art Museum, Milwaukee, WI, Jasper Johns, Prints and Multiples, May 15-August 23, 1992
Ackland Art Museum, University of North Carolina at Chapel Hill, Jasper Johns, Prints and Multiples, September 19-November 15, 1992
University Art Gallery, State University of New York at Albany, Jasper Johns, Prints and Multiples, March 2-April 23, 1993
The University of Lethbridge Art Gallery, Lethbridge, Alberta, December 13, 1992-January 31, 1993
The University of Wisconsin, Milwaukee, Modern Bias / Contemporary Viewpoints, February 22-March 31, 1996

Richard Field, The Prints of Jasper Johns 1960-1993: A Catalogue Raisonne, ULAE, New York, 1994, Catalogue Reference ULAE 167, n.p., another impression reproduced in full-page black and white.

About Jasper Johns

Jasper Johns's ongoing stylistic and technical experimentation place him at the forefront of American art. His richly textured paintings of maps, flags, numbers, and targets laid the groundwork for Pop art, Minimalism, and Conceptual art. In New York in the 1950s, Johns was part of a community of artists, including Robert Rauschenberg, seeking an alternative to the emotional nature of Abstract Expressionism. Influenced by Marcel Duchamp, Johns's early work paired the concerns of craft with familiar concrete imagery. His interest in process also led to innovations in lithography, screen-printing, etching and woodblock, using such materials as pencil, pen, brush, crayon, wax, and plaster to constantly challenge the technical possibilities of printmaking.

American, b. 1930, Augusta, Georgia, based in New York, New York